“Green Afternoon III,” a garden dance performance by Amanda Selwyn Dance Theatre, will take place Saturday at 5 p.m. at the home of Marcia Previti and Peter Gumpel, 230 Old Stone Highway in Springs.

The evening will begin with cocktails, hors d’oeuvres, and several outdoor performance installations featuring dancers in tree houses, on outdoor sculptures, in and around the swimming pool, and in the woods. The formal performance will begin at 5:50 and be followed by a reception. Tickets are $85, $150 for patron tickets, and can be purchased at eventbrite.com.

Angel Reda, a vocalist, actress, and dancer who is currently starring on Broadway as Roxie Hart in “Chicago,” will perform a program of Frank Sinatra’s hits at the American Hotel in Sag Harbor on Monday at 7:30 p.m. Russ Kassoff, Sinatra’s longtime pianist, will accompany her.

The show is the centerpiece of an evening that will also feature a four-course dinner accompanied by cocktails and wines from the hotel’s noted cellar. The cost is $150, and prepaid reservations can be made by calling 725-3535.

William Quigley, a painter who lives in New York and Los Angeles, will host an art exhibition and fashion runway on Saturday at 6 p.m. on the back lot of Schenck Fuels, 62 Newtown Lane in East Hampton. Conceived in support of wounded veterans, the event will benefit American Patriot Support Foundation, Soldier Ride, and Survivable Services International. Artworks by Ben Moon, Gabriela Pires, and Mr. Quigley will be available for purchase.

Bulletproof Stockings, a Hasidic rock duo, will grace East Hampton for the first time next week, and the two front-women are curious how the audience will react.

“I wonder if our sound will be too intense,” Dalia Shusterman, the drummer, pondered last week.

One sure thing though, men will likely not be present at the show. Ms. Shusterman and the lyricist, Perl Wolfe, adhere to a rabbinic law that prohibits men from listening to women sing live. Their concerts are only open to women, but the two reveal that the practice doesn’t exactly have to do with religion.

“That was kind of a starting point, but that wasn’t what this was about,” said Ms. Shusterman. Rather, their music and concerts are meant to give strength and power to women, religious and secular alike, and allow them a night to dance for themselves. Of course, if a man wants to sneak in, no one’s going to stop him, but usually the no-men-allowed boundary is respected, and men concede to listen on YouTube instead.

Some critics have accused them of sexism, but they’re quick to squash that misconception.

“We’re pro-men, too. We love men, too,” said Ms. Wolfe. When spats form on their Facebook page, Ms. Wolfe feels relieved when she sees men saying, “Let the girls do their thing.”

Yet the real fascination surrounding Bulletproof Stockings, a name that gives nod to the sheer nylons worn by Hasidic women, lies in the band’s ability to blend old world traditions with punk rocker modernism. The women both wear wigs, as hair is considered sexually alluring in Orthodox Judaism, and pray before shows. They talk about how they’ve turned to “HaShem,” or “God” in Hebrew, for guidance during difficult times. On the other hand, they’ve starred in an episode of reality television, drawn crowds at hip, Lower East Side venues, and written catchy guitar riffs paired with lonely lyrics. Ms. Wolfe, who has a bold voice, sings lines that ring true to any person living in New York.

Everything is so cluttered here I can’t sleep/

And when I do I awake on empty/

Could you show your face just a little more frequently/

I didn’t know it was so cold in the city

Before marrying her husband, a rabbi, Ms. Shusterman lived a “pre-Hasidic life,” flourishing in a rock ’n’ roll lifestyle. She attended South by Southwest, hitchhiked across the country, and drummed in the streets of New Orleans, occasionally getting picked up by eavesdropping musicians.

Ms. Wolfe was working as a makeup artist when she got divorced for the second time. She quit, returned to her family’s home in Chicago, and ruminated about her life path. She grew up playing music in kid festivals and choirs, but it was during this time of contemplation that she determined to form a women-only band. Her parents pleaded with her to rethink her unstable plan, but she disregarded them and moved back to her Brooklyn neighborhood.

Ms. Shusterman and Ms. Wolfe discovered each other several years ago through the grapevine of the tight-knit Hasidic communityn Crown Heights, Brooklyn. At the time, they were both struggling to overcome personal woes: Ms. Shusterman the death of her husband and Ms. Wolfe a second divorce. Separately, the women had turned to music, a shining light they had employed throughout their lives. But as solo artists, it proved difficult to form a fully functioning band. Ms. Wolfe needed a drummer and Ms. Shusterman rarely tried her hand at songwriting. When a friend introduced the women, who happened to be living three blocks away from one another, the missing parts clicked into one whole.

The women officially established Bulletproof Stockings in 2011. Two weeks later they recorded their first song and played their first gig at a yeshiva fund-raiser. They say The New York Daily News was the first to briefly mention them. Since then they’ve booked shows at Arlene’s Grocery on the Lower East Side, and numerous news outlets have profiled and interviewed them, including The Wall Street Journal, CBS, and The Huffington Post.

“The press snowballed and it has not stopped,” said Ms. Shusterman.

At next week’s show in East Hampton, the women will play songs from their upcoming album, created thanks to the $37,000 they received on Kickstarter. Once they finish the album, their next step is to go on tour.

Before the women hung up the phone, Ms. Wolfe reiterated one more time that their music should be enjoyed by everyone.

“We’re not trying to dis the men or anything,” she said.

Bulletproof Stockings will play on Wednesday at 6:30 p.m. at the Chabad of the Hamptons in East Hampton. Tickets are $36.

The Parrish Art Museum in Water Mill is offering two programs tomorrow at 6 p.m. The “Sounds of Summer” series will present Jake Lear, a singer and guitar virtuoso who recently moved back to the East End after building a reputation for hard-hitting blues on Beale Street in Memphis. The show will take place on the museum’s covered terrace.

“Gesture Jam,” a figure-drawing class featuring theatrical costumes and live accompaniment, will take place in the museum’s permanent collection galleries under the direction of Andrea Cote, an artist and educator. Participants should take their own sketchpads and dry media materials. Both programs are free with museum admission, which is $10, free for members and students.

And then on Monday at 5:45 p.m., “Deep Rivers,” a one-hour program of chamber music, will be co-presented by the Bridgehampton Chamber Music Festival at the museum. The program will include music by Fairouz, Bernstein, Copland, Gershwin, and American spirituals. Tickets are $35, $30 for members, and $10 for students.

The Voxare Quartet, an acclaimed and innovative young string quartet, will perform outdoors at LongHouse Reserve in East Hampton tomorrow at 7 p.m. “Strings al Fresco,” which is in remembrance of Ingeborg ten Haeff, an influential figure in the worlds of art, fashion, and design, will be preceded at 6 by hors d’oeuvres and cocktails and followed by dinner at 8:30.

The musicians will perform contemporary music, including pop and rock, as well as classical works. Tickets to the reception and performance are $100, $75 for members. Dinner lifts the total to $300.

“Unpregnant Pause: Where Are the Babies?” — a free performance based on a new book by Debbie Slevin — will take place Sunday afternoon at 3:30 at the Montauk Library. The book came about when Ms. Slevin realized her desire to be a grandmother might not be fulfilled. Jody Lyn Flynn and Jeff Slevin will perform the piece.

On Wednesday at 7:30 p.m., Janice Friedman, a jazz pianist, vocalist, composer, and arranger, will perform a free program of jazz standards at the library. Will Woodard will accompany her on bass.

“One-Man Star Wars Trilogy,” a solo performance by Charles Ross, a Canadian performer and writer, will transport the galaxy from far, far away to Guild Hall on Saturday at 8 p.m. Since its premiere in 2001, the play has been performed more than 1,200 times on four continents.

During the 75-minute performance, Mr. Ross plays all the characters, recreates the effects, sings music from the John Williams score, flies the ships, and fights both sides of the battles. Lest he be typecast, Mr. Ross has also created and performed “One-Man Lord of the Rings.” Tickets to “One-Man Star Wars” range from $22, $20 for members, to $45 and $43.

Sutton Foster, an actor, singer, and dancer who has performed in 11 Broadway shows, will bring her vocal talents to Guild Hall on Sunday evening at 8. Her solo shows feature songs from her CDs “Wish” and “An Evening With Sutton Foster: Live at the Cafe Carlyle,” among them “Up On the Roof,” “Oklahoma,” “Here, There, and Every­where,” and “I’m Beginning to See the Light.”

A two-time Tony Award winner for “Anything Goes” and “Thoroughly Modern Millie,” Ms. Foster has been seen on television in “Royal Pains,” “Law and Order SVU,” and “Sesame Street,” to name a few, and has performed live at Carnegie Hall, Joe’s Pub, Lincoln Center’s American Songbook Series, and many others. Tickets start at $55, $53 for members, and rise to $150 and $145.

The Doo-Wop Project returns to Guild Hall Monday at 8 with its mixture of 1950s pop classics and stories told by the cast about their backgrounds and experiences in the music business.

The show will include songs originally performed by the Four Seasons and Smokey Robinson, as well as contemporary numbers by Michael Jackson, Cyndi Lauper, Amy Winehouse, and Bruno Mars, all with a doo-wop spin. Tickets range from $40, $38 for members, to $95 and $90.

Music for Montauk, the long-running program of free concerts that was revived in the spring by Lilah Gosman and Milos Repicky, its new artistic directors, will hold its first-ever summer series of concerts, indoors and out, from Tuesday through Aug. 15.

The series will launch Tuesday with several pop-up concerts in the hamlet’s outdoor spaces and public venues, featuring surprise performances by its guest artists.

On Wednesday the action will move to Sole East, where a tango concert will take place at 8 p.m. Pedro Giraudo, a featured bassist on multiple Grammy Award-winning recordings, will be accompanied by Rodolfo Zanetti on piano and Emilio Teubal on bandoneon, a type of concertina essential to most tango ensembles. Tickets are $20, and proceeds will benefit Music for Montauk.

The “Carnival of the Animals” concert, the biggest of the series, will start next Thursday at 6:30 p.m. at Third House in Montauk County Park. The program will feature Saint-Saens’s suite of colorful musical caricatures, written for a chamber ensemble of two pianos, strings, winds, and percussion. Admission to the family-friendly program is free, and guests can take their own wine and picnics.

Salon Espanol, a benefit program of Spanish-inspired music performed on guitar, string quartet, and vocals, will be held at a private residence from 6 to 9 p.m. on Friday, Aug. 14. The music will be accompanied by tapas prepared by a local chef and wines selected by a sommelier. Tickets to the benefit, which are $150 and limited to 50, can be purchased at musicformontauk.org.

A free concert of American music will conclude the series at Third House at 6:30 p.m. on Saturday. The program will include Antonin Dvorak’s “American Quartet” for strings as well as Charles Ives’s Violin Sonata No. 4, Aaron Copland’s “Old American Songs,” and Lou Harrison’s “Estampie” for string quartet. Wine and picnics can provide nonmusical accompaniment.

On Friday afternoon, Chris Harmon of East Hampton, one of the more outstanding surfers to grow out of Long Island waves, crouched, nearly knelt, before a finely shaped length of fiberglass-coated polyurethane foam, virtually flat, the nose of it pointed with a forked tail, two fins, a red deck, and white bottom.

“It’s exactly like my board. The board I’m riding now. It’s the same board,” he repeated. “I’ve got to see the bottom. Can I see the bottom?” The answer was “no,” but he understood.

The 8-foot-8-inch surfboard  is an early twin fin shaped by the late Ricky Rasmussen of Westhampton — Mr. Harmon’s predecessor in the outstanding local surfer department — for Tony Caramanico of Montauk in 1981.

The board lay within the no-touch zone among 40 other beautiful statements of form and function — some new, some more than a century old. Together they make up the “Surf Craft: Design and Culture of Board Riding” installation at LongHouse Reserve in East Hampton.

Friday’s opening was attended by at least 100 folks, a mix of knowing and appreciative surfers, as well as unknowing yet obviously wowed non-surfers. The shapes may have been foreign, but they spoke to that part of the brain that senses a purpose behind the design, something studied, the result of trial and error. They are examples of that mystical place where form and function meet and become art. 

The show presents three examples of Bob Simmons designs that he brought to life in balsa and fiberglass resin in the 1950s. Mr. Simmons revolutionized surfboard design by abandoning the 100-pound, solid wooden boards that grew out of Polynesian history in favor of boards that were lighter by virtue of materials developed during World War II and the hydrodynamic theories of a naval architect named Lindsey Lord. Mr. Lord was brought into the government fold after Uncle Sam realized it was his flat-bottomed planing hulls that permitted rumrunners to outpace the Coast Guard during Prohibition.

Richard Kenvin, a “surf historian” who curated the collection of boards from the early-20th century, was on hand Friday “talking story,” as surfers say. When asked, he said it was the “Simmons on the left,” a balsa twin fin (Simmons also proved the utility of a skeg or fin for turning and stability) that he would choose if he could have only one board from the collection — a tough choice.

He said the Lis Fish would be his second choice, another revolutionary design shaped by Steve Lis, a surfer, in the early ’70s.

There are the groundbreaking (or is it “water-breaking”) designs of George Greenough, discs that seemed Japanese in their simplicity, that are ridden on one’s knees. There is another kneeboard interpretation by Terry Hendricks called Isurus, Greek for mako shark, a board that at first looks like a piece of bark from a tree but is a crude, yet beautiful, wave rider carved from a log by an anonymous surfer in Sao Tome on the equatorial coast of West Africa.

The boards in the LongHouse show represent only about a third of those featured in a coffee-table book Mr. Kenvin has edited. The California native began surfing in 1970. He does not own all the boards on display. They are from private collections, but Mr. Kenvin admitted he was a surfboard hoarder who has ridden all the boards he hoards, a number he could not quite bring to mind.

He said his fascination with surfboard design began with 12 years of research on Bob Simmons that blossomed into a 2012 exhibition in San Diego called “Pacific Standard Time,” part of an effort by the Getty Museum to collect and interpret the art of Southern California.

Mr. Kenvin said that by then he had visited the Bishop Museum in Honolulu and discovered and studied “The Unknown Craftsman: A Japanese Insight Into Beauty” by Soetsu Yanagi and Bernard Leach, a book about the philosophy of design, “and how it, craft and design, went into the industrial age, how it all fits together, and how it relates to surfing. One thing led to another and I was asked to curate a show. It was called ‘Surf Craft’ at a museum in Balboa Park.”

To Mr. Harmon, the red Rasmussen is a totem, a shape with powers that convey not only its own place in surfing history but one that also expresses a personal relationship with the sea and its waves that he could obviously feel by simply gazing upon it.

Not everyone will have that level of appreciation, and yet visitors to the “Surf Craft” show, set as it is within the extraordinary beauty of LongHouse Reserve, will leave realizing they know art when they see it.

The fascinating story of every board is presented in easily read plaques, and there is a video screen where visitors can watch the shapers do their thing. The show, installed with the help of Michael Rosch and Scott Bluedorn, will run through Oct. 10.